Category Archives: Graduate student writers

Procrastinating? Feeling stressed? Read on…

Deadlines, Education, Environment, Goal setting, Graduate student writers, Inspiration and motivation, Mental health, Motivation, Procrastination, Productivity, Stress, Time management

Two of our learning strategists, Brodie and Hannah, offer their thoughts on the timely topics of procrastination and stress. If you want to consult with a learning strategist about time management or goal setting (in-person or on Zoom), book an appointment: https://uvic.mywconline.com/

Some Thoughts on Procrastination

By Brodie

If you are anything like me, at this time of year just after reading break, it is easy to put your writing on the backburner and procrastinate. I am sure that we are all master excuse-makers by now! So, let’s see if I can give you some ideas about how you can put your writing back on the front burners and get cooking again (or writing, but you know what I mean!).

Build some awareness about your patterns with procrastination. When do you procrastinate? How, or in what way, do you procrastinate? Or maybe why? Understanding these questions will help you to put in place strategies that will reduce this pattern.

Feeling overwhelmed with your writing? Try breaking it down into smaller chunks. I am always reminded of the ancient Chinese philosophy of Lao Tzu “a journey of a thousand miles begins with a single step.” Sure, I admit that sounds cheesy, but practically, taking smaller steps toward your writing goal is a good way to reduce those overwhelmed feelings and build a little momentum.

What about your environment? Is there a particular space that tends to support you staying focused and on task? Or do you try writing in spaces where there are lots of potential distractions? Knowing the kinds of distractions that curb your focus can also support you in creating a writing space that is beneficial to being productive.

Not sure exactly what or how you should be writing? It can be easy to procrastinate if we are not confident about what we need to do. Try taking a moment and explain to yourself what the purpose of your task is and what needs to be included in your writing. Next, ask yourself what aspect is confusing or unclear about your writing task and use that information think about the resources (i.e., supervisors, classmates, library supports, textbooks, etc.) that you can access that will help fill in some of your missing gaps and encourage you to regain your confidence with your writing task.

Hopefully, a few of these ideas will get your brain thinking. If you want to talk more, try booking an appointment for an individual consultation and explore personalized strategies to help you take back some control from the procrastination: https://uvic.mywconline.com/

Stress Management for Graduate Students

By Hannah

Stress is a fact of life. It is especially significant when one is a graduate student facing academic, professional, and personal challenges. Balancing academic rigors, professional demands, and personal life can be very challenging and stressful and if left unmanaged, it can disrupt life. What coping strategies can a graduate student use to keep stress at bay? Here are six strategies to start with.

  1. Assess your stress. Identify your sources of stress. Is your stress academic or non-academic? Being aware of your stressors is the first step to keep stress at bay.
  2. Find what works for you. Now that you have identified your stress, check what works for you. Does exercise help? A warm bath perhaps? A walk outside? Or meditation? Physical and mental activity such as mindful meditation is beneficial in combatting stress.
  3. Manage your time. Graduate studies is not just academics. It’s a delicate balance between academics and non-academic factors in your life. Master time management, stop procrastinating, take control of your calendar, and simply just do what needs to be done.
  4. Remind yourself of your long-term goal. Keeping track of your long-term goal help with motivation. Remind yourself why you are in graduate school and the opportunities you have received and will continue to receive in this journey.
  5. Celebrate small victories. A thousand miles always begin with one step. Your small victories are steps you take towards your long-term goal in graduate school and beyond. Celebrate them.
  6. Seek help. Various help services are available on campus. As graduate student, you have access to help services that will help you in when your academic journey becomes stress ridden.

References:

https://blogs.tntech.edu/graduate/2020/09/09/stress-management-for-students/

https://www.colorado.edu/today/2020/11/03/managing-stress-grad-student

https://gsm.ucdavis.edu/blog/5-tips-grad-school-stress

https://gsas.harvard.edu/student-life/harvard-resources/managing-stress

https://gradschool.duke.edu/student-life/health-and-wellbeing/tips-dealing-stress/

About Brodie

Photo of Brodie, one of the writers of the post

Brodie grew up in Ottawa, or the traditional unceded territory of the Algonquin Anishnaabeg people. As a certified teacher, he has worked with young people and families in a wide variety of contexts including outdoor experiential education, school-based support, substance use counselling, and inpatient mental health. If he is not working or studying, you can find him playing disc golf, and mostly likely, contemplating how he can apply SRL theory to improve his game (much to the chagrin of his disc golf partner!).

 

About Hannah

Hannah was born and raised in Surigao City, Philippines. She is currently in Victoria, working on her Master in Education International Cohort degree. She is passionate about teaching and has been teaching in a state college in the Philippines for 15 years. Her free time is spent with her family exploring and integrating in the Canadian way of life.

Being Vulnerable in Writing

Academic Writing, Creative writing, Graduate student writers, Inspiration and motivation, Make writing social

We live in a world, that, to put it mildly, is less than kind at times. As the days go by, we may well feel poked, prodded, or just, simply, wronged. I’m sure we can all relate, I mean it’s hard to go through a year, let alone a day, without something being irksome. With all these pains, worries and injustices, who wants to open themselves to others, to be vulnerable; it may be the last thing on your list of things to do. Yet, we know great things can come from being vulnerable—think of the journeys we make to foreign places, the personal conversations we find ourselves in, or, simply, the unexpected events that life throws to us; it’s not all bad. In fact, how would we grow as people, as individuals, as a community, without being vulnerable to something, someone, or the world at large (or, without some other thing being vulnerable to us?).

Vulnerable Life

In our world, being vulnerable is not only part of daily life, but also part of the practice of being a writer. Being vulnerable in life is as vital as it is in being able to write well; why then do we worry about opening up, about sharing our deepest thoughts and feelings when we witness not only the pain such experiences bring, but also the positivity. You are vulnerable, I am vulnerable, together it is inescapable.

Ours, however, is a society where vulnerability is wedded to a certain weakness. Gender stereotypes and general prejudice abound when considering the baggage that comes with being vulnerable. We don’t know our teacher but we know that, if you want success, or to be a leader, you have to toughen up and close the world off: just be ‘you’, a promethean character, we are told. This “fear of vulnerability” is a pathology, not just for us as social beings, but as writers; seriously, who likes writing that is closed to the world? Who is moved by writing that is ironclad, fortress-like, cold and closed?

Being Vulnerable and Using vulnerability

To feel the connection between vulnerability and authenticity is not novel, nor is noticing the power vulnerability has to move people and change yourself. What makes for moving stories, for moving writing, is vulnerability to your audience. Turning towards the need to be vulnerable in writing isn’t simply about being personal; it is about being open to the world as a wider life practice. While, usually, being vulnerable means we have to be ‘deep’, it doesn’t have to be; maybe being vulnerable happens in small ways, with small steps rather than deep plunges. It is time to embody the vulnerability that makes your writing alive to the world and all that happens in it. We must start by asking ourselves, which writing is not vulnerable to us, as readers?

Critically, vulnerability isn’t just a useful rhetoric practice, a deployment of pathos: it is but a part of living. Here, Brené Brown, distinguishes ‘using’ vulnerability and ‘being’ vulnerable; as Jane Harkness says “there is a stark difference”. The point for us, the laypeople, is that being vulnerable in and with our writing is about opening a space for dialogue, a space where we can write, think and be together, where we can grow, and, as Haraway says, “stay with the trouble”.

Being Vulnerable with Others

But how can we learn to be vulnerable in and with our writing? Here are some steps we can take:

  • Be honest and trusting (we aren’t escaping being vulnerable to the world any time soon, trust that others are there for you)
  • Do writing exercises (small essays, little scribbles, anything that isn’t too serious) – share it with others; de-escalate the fear you have of the experience
  • Visit writing centres, us included (engaging with professionals may help depersonalise the whole experience)

We are not immune to being vulnerable, we need vulnerability for our writing to be itself, even if we are not of a literary mindset. We need vulnerability to be willing to change ourselves, and our writing; we need vulnerability to be willing to listen to the comments, thoughts, and criticisms others have of what we say. So, whoever you are, remember that good writing isn’t closed and invulnerable; it is there to be open, ready to reveal itself to world. I’m ready to be open to the world, are you?

About the Author:

Luke Lavender

Hey, I’m Luke, a masters student in Political Science with a Concentration in Cultural, Social, and Political Thought at the University of Victoria; I am working to work out what I am actually working on. I completed my undergraduate in the UK with a year abroad of study in Munich, Germany. Now, I find myself acting as the Teaching Assistant Consultant for Political Science, an International Teaching Consultant, and as a Graduate Student Tutor at the Centre for Academic Communication.

Coming Out of the Cave: Playing with Reflexive Writing

Academic Writing, Creative writing, Graduate student writers, Inspiration and motivation, Make writing social, Voice, Writers writing about writing

By Luke Lavender

“How MUCH my life has changed, and yet how unchanged it has remained at

bottom!” – Kafka, Investigations of a Dog

Clack go the keys; your mouse moves across the screen, in a lazy manner, hovering over the text you have managed to write and pour out. Your brain is weary, your eyes are adjusting—right, let’s see what we have managed to put into the world. Oh, no, what I am I saying here, how does Trump relate to this, am I really claiming THAT!? Wait, is that it? How did I get here, what was I saying, where was my writing going—is there no going back, I want to find what I was meaning to say before I lose myself in this cave.

Lost, lost, lost; our writing is screaming to say something, but it’s lost, I am lost in my writing. These feelings abound, as an undergraduate, graduate, postgraduate, as someone who simply is trying to speak to others. I’m sure we’ve all been here before, in that dark cave where what you are saying does not connect to what you mean, where you, your words and speech, are not in dialogue with your thinking, your intention—how does it happen, does it always have to be this way, can I not be myself in my writing?

It is not uncommon that we are told to avoid you, the subject of you, the subject of personal subjects in writing.  As we ‘refine’ what we say, we find it common to try and escape ourselves in that process; we are told to write an argument, but make sure it is the argument that speaks, that you are not yourself in your text. In fact, in a certain way, is our writing not writing about avoiding that subject, the subject that we are? Sometimes, these lessons are personal and conscious—feedback asking us to not be so personal, to distance the writing from ourselves, to make sure that the writing speaks for itself—sadly, it is also an unconscious process; for many of us, writing operates through what Butler calls, in Excitable Speech, a “logic of censorship” that makes speaking, writing and dialogue, possible. Paradoxically, we are told to censor and write without ourselves, but why?

Formally the reasons abound, the father of them, is objectivity; “Academic writing should be objective… the language of academic writing should therefore be impersonal, and should not include personal pronouns, emotional language or informal speech”. For many this is all well and good, by eliminating use of the ‘I’ or yourself in the writing, we can escape bias, the tainted world of experience, and actually come into knowledge, true knowledge, knowledge that exists irrespective of a subject, a ‘you’, who does the thinking. Allegedly this leads to greater clarity, clearer reasoning, and more transparent writing; but does it? Is this all it does?

It seems sensible that objectivity removes us from what we say, so sensible that we miss the wider circle we find ourselves in: being objective requires being opaque to yourself in the writing, to not be reflective about what you think, let alone what you write. In this circle, we lose a grasp of the edges of our writing, it turns from being a cave into becoming a tomb; the writing becomes dark, you can’t find your way around it, let alone, get out of it—we find ourselves trapped into writing objectively and destined to find ourselves as mummified within hieroglyphics that we can’t even decipher. What a sad fate for objective knowledge, for objective writing, for an objective author; is this truly our destiny, can I not, myself, start understanding what I want to say? How, in a word, do we come to know the edges of ourselves, our writing, and what we are saying through writing itself? Should writing not be the means by which we not only illuminate our minds, but, fundamentally, learn about the thoughts that we have? Should writing not be about becoming aware of the thoughts we have and how to express them?

What could be a more perfect recipe for getting lost than the reflex to not be you in your writing, to write without yourself in the process? This is a concern that dogs the philosopher Raymond Geuss in the book “Philosophy and Real Politics”; the tendency of our philosophy, thinking, and, ultimately, writing is to lead us away from ourselves, to shut the doors on thinking about how your writing speaks to others, but also, reflects yourself. No wonder then, that, Mihaela Mihai calls for “responsible” and “responsive” theorising, a practice of being responsive to the realities of the world, and yourself in that world. Can we not take a stand and ask for a turn towards responsible and responsive writing? And what would it entail? A writing that, in its very existence, is reflexive, knows the edges of what it says, what it thinks, and what it thinks it says in contrast to what it actually says; a writing that is not entombed in objectivity, but open to itself. It is about making writing an exercise in reflection.

Are we not lost souls because we think our writing is transparent when it is actually opaque? Are we not in this cave because the way we are taught to write, academically, leads us away from being reflexive with what we say, and from knowing the limits of writing, from ourselves, on the page? So, as we turn to outside help, to others to help us say what we think and be transparent, perhaps we can try and recognise the vitality of being responsible and responsive as we write; in other words, of writing reflexively. This may happen in small steps, but perhaps we can collectively practice this lost language of ourselves in writing: journal, explore, and, above all, write about ourselves. We must play with our writing; so play, like I am in this very post, in this very writing. It doesn’t have to be objective, but it has to talk about you—give it a go with me, maybe we can find get out of the cave and find our paths together?

This first step—of turning writing into a reflexive exercise about reflecting on yourself, your thoughts, your limits—is exactly what we need if we want to know who we are and what we are saying when we put pen to paper, finger to key, and expose our writing-self to the world. So, let us not avoid the subject within writing, let us reflect on how to write reflexively. I for one, am tired of being lost in my own work.

About the Author:
Luke Lavender

Hey, I’m Luke, a masters student in Political Science with a Concentration in Cultural, Social, and Political Thought at the University of Victoria; I am working to work out what I am actually working on. I completed my undergraduate in the UK with a year abroad of study in Munich, Germany. Now, I find myself acting as the Teaching Assistant Consultant for Political Science, an International Teaching Consultant, and as a Graduate Student Tutor at the Centre for Academic Communication.

Blog Writing Practices – UVic’s Centre for Academic Communications

Blogs and blogging, Centre for Academic Communication, Graduate student writers

Blogs are becoming a standard medium for knowledge dissemination in an accessible and rather informal way. Such publications utilize accessible and informative language, speaking to a diverse yet targeted audience. This post describes how blogs that the CAC publishes are to be written, in a way that demonstrates the tips we provide and the practices we recommend our contributors follow.

Introductions and Openers

Like most text that you write, the first paragraph is very important in setting the tone and the purpose of the piece. For blog posts in particular, the first couple of sentences are the most important: along with tone and purpose, they set the theme and guide your reader as to whether or not this post answers their inquiries. While the openers for your blog are expected to be grabbing, they still need to be direct in presenting the key information. From there, continue to provide context and essential details on the topic. Move on from the introduction as soon as you have established your theme, purpose/argument, and the necessary context.

Concision and Brevity

Concision is key in writing blog posts. Your readers are looking for information that can be deciphered efficiently, perhaps even through skimming. Lay out the information as concisely as possible, using sentences of short to moderate lengths. Make sure that your sentences are engaging and vary in length though, so that the piece has rhythm and flows smoothly. Use anecdotes and personal experience wisely: where it drives the point home or clarifies it, is necessary to capture the reader, or is the actual topic of the post.

Further, lists and bullet points are your friends in a blog post. Where necessary, this practice provides a visual structure for readers’ attention, as well as a quick-to-read and easy-to-digest display of information.

Sections and Headers

Use sections and headers; these focus your reader’s attention and gives them a visual map of the post and which part they need to read. Given that some of your readers will be skimming the post, organizing it into sections with clear and descriptive headers will guide them towards the content of interest. A satisfied reader will come back for more, so if you are building an audience/following, make sure you attend to their expectations.

Purpose and Themes

Be aware of your purpose from the very beginning and make it clear to the readers. Make sure that by the end of the post, you have achieved your purpose. Know your themes and commit to them; avoid getting distracted by and/or distracting your reader with unnecessary information. You may find formatting helpful to highlight key terms and statements; where need be, bold the important word or sentence, but make sure not to overdo it.

General Notes:

  • If discussing a personal experience, avoid rants and focus on takeaways (Raising awareness, providing tips, etc.)
  • Be aware of the diversity of your audience, which includes backgrounds (social, cultural, religious) and academic standing (undergraduates, graduates, faculty)
  • Use language conscientiously. Our blog is a writing blog for building community; as authors, lead by example
  • Be respectful and professional, even if informal
  • Finally, be open to conversations pre and post publication. The editors of the blog go through a selection process and will get in touch with the authors for edits and revisions. Readers might wish to contact the authors to further the conversation, so consider providing contact information with your bio note.

Learning how to write through storytelling

Academic Writing, Centre for Academic Communication, EAL graduate students, Education, International graduate students, Tutoring

By Hossein Ghanbari Odivi

I was born into a crowded family. Up until I turned 6, we had been living in a village in the southeastern part of our country where we cultivated our land and looked after our flock. The only language I knew was Bakhtiari, which is different from Farsi, the lingua franca of Iran.

I remember waking up to this beautiful country morning and based on my recollection of previous days, I thought I’d have lots of fun on that day as well. However, that was a short-lived wish as I was told to pack up as we were moving house to Ahvaz, which turned to be my birthplace! I had no recollection of the city whatsoever. However, I learned that Ahvaz is the capital of the oil-rich Khuzestan province, and it proved itself to be a lively city for sure. Cars and people were everywhere in abundance. I was mesmerized by the unknown.

After we had moved in and settled down, I was told that I was going to school along with my elder brothers. Little did I know about schools and homework. At school, I heard different languages that later on were deciphered to me as Farsi and Arabic. At the time, a considerable percentage of the population in Ahvaz was Arabic speakers. In other words, it was expected to hear Arabic at school as many of my schoolmates were Iranian Arabs who would interact with each other in Arabic. Just like many other places in the world, where education is conducted in a certain language, classes were taught in the standard Farsi, which was all Greek to me. However, as I found myself in this new context, I had to adapt and adopt, which fruited in my learning Farsi.

With this little synopsis of my background, I aim to say that it takes effort and persistence to master new endeavours. In my personal life, writing in an academic setting was hard for me. Although I am a teacher and am in love with reading, I found academic writing a challenge as I did not know how to approach it appropriately. That is why I always make sure that my students know about essay structure and paragraph development. As long as we start from there, the rest will be easier to do.

Similar to stories that have a setting, theme, and a central message, academic writing also has its own framework. Thus, to write acceptably in an academic setting, one should follow the rubrics of academic writing. That is how I learned to write in an academic context. I learned that every academic essay should have an introduction, body paragraphs, and a conclusion.

To write an introduction, one should break the ice to the reader with enough and not too much information. When the ice is broken and the reader’s attention is directed toward the message that the writer intends to convey, it is time to present a thesis statement. See? It is a fancy word for the central meaning in your essay. Your thesis statement is the main argument that you are presenting for or against another argument and in the form of some paragraphs, called body paragraphs. Each body paragraph has a topic sentence or a central meaning. These central messages help develop the argument in the thesis statement from one or two angles in a structured fashion. Every topic sentence is supported by sentences, which are explanations, other writers’ ideas, and references to previous findings on the topic. These sentences are connected through transition words. When the writer feels they have made an acceptable argument on the topic, they draw a conclusion, which is the final section in an academic essay. A conclusion is a brief recount of the thesis and the highlights of the arguments made throughout the essay.

With that being said, I believe the takeaway of this short anecdote-essay is, just like the time I adapted myself to my new life as a child and adopted its new rules to usher myself around, academic writing can and will bring you joy when you learn to adapt and apply its rules. It is at that time that  you will feel at home.

Thank you,

Odivi

Odivi is a tutor at the Centre for Academic Communication. You can book an appointment with Odivi at https://uvic.mywconline.com/

Odivi is a Ph.D. student in Education at UVic with a concentration in Indigenous Language Revitalization. He is also a certified English Teacher in Canada. He wrote his MA thesis on the study of moves and steps in Farsi and English Academic Recommendation Letters. Odivi taught English in Iran for 12 years. Before he came to Canada, he lived in Turkey where he taught English and IELTS to Turkish and international students.

 

 

Write for the blog: Be part of the Graduate Student Writers’ Community

Blogs and blogging, Centre for Academic Communication, Environment, Graduate student writers, Inspiration and motivation, Make writing social, Motivation, Posts by Madeline, Writing resources

By Madeline Walker, Editor

Hello. Coming back to the Centre for Academic Communication (CAC) after a year away feels strange. Rather than stepping back into the familiar, welcoming halls of  the library and sharing laughs with students and tutors, I navigate through the disorienting cyber-space of Zoom meetings and online communication. It’s hard to get my footing here. I feel like an astronaut floating far away from the mother ship. I miss you. But it’s great to be back, and I hope to see you in person soon.

Call for blog posts

Please write a post for the blog! This is your community, and we want to hear your voice, your opinions, and your ideas. You can write on anything to do with the experience of graduate student research and writing. Perhaps you could share how graduate research and writing has changed for you since the onset of the pandemic. How have you coped? What do you miss most? Have you discovered any unexpected treasures? Or perhaps you’d like to voice some thoughts on developing an academic identity, writing for publication, or attending conferences.  Maybe you’d like to review a useful book that helped you with your writing or research. Please browse previous posts to get an idea of the range of writing.

Blog posts should be between 250 and 750 words. Use plain English—make your post accessible. I encourage you to

  • provide hyperlinks to resources
  • include a catchy title
  • check out this template (yes, it’s from a marketing perspective, but the guidelines are sound)
  • read  “Write for Us” for further information.

Please send your inquiries and posts to me at cacpc@uvic.ca.

Start your own blog

Writing a guest post for the Graduate Student Writers’ Community blog might stimulate you to start your own blog.

Pat Thomson, academic blogger extraordinaire, claims that blogging has many benefits for the graduate student researcher/writer. Writing blog posts can help you set a regular writing routine, develop authoritative voice in your writing, and practise writing in a conversational style (Thomson & Kamler, Detox your writing, p. 120). She writes that blogging is a “productive way of performing your research for a wider public” (p. 118). If you would like to start your own blog, UVic’s instance of WordPress, the Online Academic Community,  is free for UVic students. Attend a how-to workshop and start blogging!

New Online Resources for Graduate Students at the CAC

The capable team at the CAC have been developing many online resources in the past four months, including CAC Online, a self-enrolling CourseSpaces site  (You must be loggged into UVic to access the link). In particular, I draw your attention to the valuable resources for grad students housed there, including videos by Emily and Kaveh about reading, writing, and publishing your research.

P.S. Pat Thomson and Barbara Kamler’s excellent book on doctoral research and writing, Detox your writing: Strategies for doctoral researchers,  is available from our library as an e-book.

 

 

Talking theory with Janet

Academic Writing, Centre for Academic Communication, Dissertation writing, Education, Graduate student writers, Theory, Tutoring, Writing resources
Janet Symmons

Traffic at the Centre for Communication (CAC) eased off this week, so I took the opportunity to chat with Janet Symmons. Janet is a graduate student tutor at the CAC and a PhD candidate in the Faculty of Education, Curriculum and Instruction.  We talked about how to write about theory—not only because this is a question grad students wonder about, but because it’s a topic dear to Janet’s heart. During our talk, Janet clarified the difference between a conceptual framework and a theoretical framework, told me a little about her own story and provided a useful resource.

Madeline: So what is the difference between a conceptual framework and a theoretical framework?

Janet: There has been quite a debate about this – Google it and you’ll see.  People get the two confused.  A conceptual framework clarifies the concepts through which the findings are discussed. So it emerges as you write your literature review (key words and ideas).  Concepts are the general meanings of words, and from them you build the conceptual framework.

The theoretical framework is built from one or more theories through which you view everything.  It’s like a pair of glasses you put on, glasses that you can change.  For example, you can look at the same data through different lenses—say a feminist lens or a Marxist lens—and find different things.  You can also combine theories that complement one another. My theoretical frame is self-determination theory. This is the theory through which I will view my data. Perhaps in a different study I can use the same data, but change my theoretical framework, to say, feminism or Marxist theory. Those would give me a very different perspective of the same data.

Madeline: When do you write about theory?

Janet: You should introduce your theoretical framework in your introduction, but give all of the details about it in your methodology section. And when you’re writing about its history or background, use the past tense. When you are writing about how you are using it, use the present tense.

Madeline: What are you working on and what is your theoretical framework?

Janet:  I am doing a qualitative study, interviewing nine British Columbia educators about their use of open educational resources (OERs), specifically what motivates them to use OERs.  I am collecting my data using phenomenology methodology, specifically Reflective Lifeworld Research.[1]  With this approach, you gather data in a particular way, use a three-part analysis, and put it back together. After that, I will use self-determination theory to view the data.

Madeline: Why did you decide to inquire about how educators use OERs?

Janet: OERs are on the cusp; they will either evolve or be tossed to the wayside. Educators using OERs are being disruptive by using OERs rather than traditional textbooks, and I want to know why.

Madeline: Let’s backtrack to theory. You can’t just pick any theory, right? Don’t you have to align theory with your project?

Janet: Right. First I tried using one theory called Roger’s Diffusion of Innovations, but after working a few months on it, I felt as if I were fitting a square peg into a round hole. It just didn’t work. I read about a few more theories before I found the ones that worked, and a light bulb went on.

Madeline: But isn’t phenomenology a theory? Is your theory reflective lifeworld research or is it self-determination?

Janet: It can be confusing. A resource that really helped me get clear is Salma Patel’s post where he explains the research paradigm in simple language and provides a table:

http://salmapatel.co.uk/academia/the-research-paradigm-methodology-epistemology-and-ontology-explained-in-simple-language/

Madeline: Thanks, Janet.  I know our conversation will help graduate students struggling with how to write about theory.

___________________________________________________________________________

[1] For more on this methodological development, see the work of Helena and Karin Dahlberg. They draw on the phenomenological and hermeneutic traditions to create a new approach to qualitative research.  Dahlberg, H., & Dahlberg, K. (2019). Open and Reflective Lifeworld Research: A Third Way. Qualitative Inquiry. https://doi.org/10.1177/1077800419836696

Photo credit: By Conrad von Soest – http://www.badwildungen.de/altar/foto6.html, Public Domain, https://commons.wikimedia.org/w/index.php?curid=1844015

The “Glasses Apostle” painting in the altarpiece of the church of Bad Wildungen, Germany. Painted by Conrad von Soest in 1403, “Glasses Apostle” is considered the oldest depiction of eyeglasses north of the Alps.

 

 

 

 

 

Academic Writing and Stress

Academic Writing, Art History, Goal setting, Learning, Motivation, Stress, Time management

By Ambreen Shehzad Hussaini

Have you ever experienced the joy of learning? Did you know learning is a “process,” not a “product”? Do you recognize that you are not solely a content learner; rather, you are a complex social, emotional, and intellectual being? Did you know that stress hinders your academic success? If this is true, how can you manage your stress and gain academic success?

Today, I would like to share a very important lesson that I learned while working at the Centre for Academic Communication. My primary responsibility here is to provide academic communication skill support and to help students to be self-directed learners. However, there are moments when I feel I am not coaching them to improve their academic communication skills; instead, I am helping them to be emotionally intelligent and to manage their stress. During conversations with students, I learned a life-long lesson that intellectual competence is intricately linked with emotional stability. I recognised that students must know how to manage the stress, particularly university graduate students who are stepping in the academic world with high aspirations. I observed that students make every effort to achieve higher grades. They spend sleepless nights drafting their writing assignments and preparing for exams. One thing the students often ignore, in my view, is to be emotionally intelligent so that they can experience the joy of learning. Let me briefly explain what emotional intelligence is, and how it is related to experiencing the joy of learning.

Emotional intelligence is your ability to recognize, evaluate, and express your emotions. It also helps you to regulate your feelings and to use your sentiments in identifying and solving challenges, making efficient decisions, and communicating with others. In other words, emotional intelligence can make you a self-aware, self-motivated, self-regulated, and self-reflected learner. It empowers you to exercise empathy, to built positive relationship with your peers and teachers, to ask right questions, and to manage stress. Once you become aware of your own emotions and know how to use them intelligently, you become intrinsically motivated and aware of your path. You understand that learning is not acquiring A+ or A on a philosophy assignment, for instance. Learning is experiencing the moment, collaborating with your peers, and learning something new from it. Learning is a process of exploring, discovering, and knowing. Learning is excitement; it is fun. It is certainly not the source of stress. When you do not exercise your emotional intelligence and do not recognize the joy of learning, they are caught by stress and fear of failure. Indeed, stress and fear are not your good friends as they may hinder your academic success.

Let me now outline two ways to manage academic stress and gain emotional stability with the hope that my words may reach other students. I know it’s hard to make an explicit relationship between academic career and stress. Believe me; managing academic stress is a mandatory requirement to achieve academic success.

  1. Plan your life:

The world is indeed demanding. We play various roles in our lives and the demands are indeed different for each role. We feel stressed when we struggle or fail to respond to the demands of life. In this situation, the best thing to do is to acknowledge the limitations of self and time. We all have twenty-four hours a day, and a certain amount of physical and mental energy to work. We may not change the stressful situations according to our desires; however, we can certainly employ strategies to use our time and energy effectively. Planning is one of the strategies that can be used. Learn to make schedules and plans. Learn to prioritize your tasks. Think about your main goals and plan the steps in that direction. Do not wait for demanding situations to attack you. Rather, manage your time and energy to control the ever-evolving situations. You can start by making day plans, and then eventually move towards crafting a five-year or a ten-year plan. Remember one thing:  if you have a humongous task, do not panic; rather, break it into numerous small tasks. Do not forget the golden quote “many drops of water make the ocean.” Fill each day with a drop of learning, and you will eventually be an ocean of knowledge.

  1. Value your life:

Life is a gift. It is valuable. It is our opportunity to learn, grow, and share. It is our chance to leave a mark in the world. Imagine, there are hundreds and thousands of people who are born with or before us. We do not know about all of them. We are aware of only those people who valued their life and shared that value with their contemporaries. Reflect on yourself and identify your strengths. Think about your weaknesses and try to make every effort to transform your weakness into an opportunity – an opportunity to challenge yourself, an opportunity to learn something new, an opportunity to experience the change in yourself. Remember, life is not a race; it’s not a battle ground either. It is a chance for you to share your values with the world. But the question is, how does valuing life impact your academic career? In a real-life setting, things are interlinked. They cannot be isolated and fixed into categories. The values of your life define your identity, your aspirations, your behaviours, your motivations, and the way you live your life.

These are just two ways to manage stress among many, and indeed, they are not new. Many people might have talked about these already. I hope that my fellow graduate students contemplate these ways and try to live a life that is intellectually stimulating and emotionally flourishing. I hope you consider your educational endeavors as a journey (a process) and experience the joy of learning.

About Ambreen

Ambreen Hussaini is a doctoral student in the Art History and Visual Studies Department, University of Victoria. She is working on the contemporary artistic expressions of the Qur’an. Ambreen is also a tutor at the Centre for Academic Communication.

The role of writing in becoming a graduate student in Canada

Applications to grad school, Centre for Academic Communication, EAL graduate students, Education, Genre, Graduate student writers, International graduate students, Tutoring

By Thiago Hinkel

The process I went through as a teacher in Brazil to become a PhD candidate in the faculty of Education at the University of Victoria involved a series of steps. Learning about the procedures and formalities related to applying for both admission and for a student visa were certainly the ones that required the greatest amount of time and effort. In this post, I will share my journey related to figuring those steps out and reflect on the role of writing in succeeding in them.

I lost count of the hours I spent on UVic’s website reading about the graduate programs offered in Education and the requisites I needed to meet for admission. I soon found out I would have to contact a prospective supervisor and have their support before I could officially apply. The technical pieces I should consider for that first approach by email were clear to me due to the genre in question. I knew I would have to be mindful of audience, objectives, and language use. I had been working as a language teacher before that, and determining those elements was like preparing a lesson on writing. However, the challenge was dealing with questions whose answers, by that time, were not clear to me – What are my research interests? Why UVic? Why am I the right person for the position? What I knew then was that I would not be able to answer those questions before thinking about them thoroughly.

While tackling those interrogations, I started looking into the requirements to obtain a student visa to come to Canada. Since I decided to do the whole process without the help of an agency, there were numerous hours of exploring and learning before I was able to start the application process. Not surprisingly, I realized there would be a great deal of writing involved in this step as well. Nevertheless, unlike the email to my supervisor, the hardship here was not related to not knowing what to include; it had to do with genres I had never worked with before, which included financial reports. Luckily, I had been working with writing long enough to know where to look for help, but mastering a new genre can be a difficult task even to a proficient writer, especially when your first try at it is, perhaps, your only shot.

The main lesson I learned from this endeavor is that form and content are intrinsically related when it comes to writing. When writing to my future supervisor, I knew exactly how I should present my words. However, what to include and what to leave out required much reflection. As for the reports I had to attach to my visa application, I learned that one is not likely to be successful if not using the appropriate format required by a specific genre, even though when knowing exactly what pieces to include. Comparing that email and visa application to the assignments I have to do today as a graduate student, I can see how they are closely related. When today I struggle to figure out how to express my ideas, it is a sign I have to be better acquainted with the genre in question.    When I am not sure about what to include in a writing piece, it is telling me I might need to read and reflect more about the topic. In both cases, going after and accessing resources is crucial.

About Thiago

I am a second year PhD student in the department of Curriculum and Instruction in the Faculty of Education at Uvic. My research interests involve digital literacies in the field of teacher education. I have a master’s degree in Education and a bachelor’s degree in English teaching, both received in Brazil, my home country. I have worked as an EAL teacher for the last fifteen years, which often included university students seeking to improve their communication skills and academic writing practices. As a tutor at the Centre for Academic Communication at UVic, I work toward sharing my experience to contribute to the academic journey of other students.

Jacquie plays: The literature review as a journey up the mountain

Academic Writing, Centre for Academic Communication, Creative writing, Kinesiology, Literature review, Reading, Research, Structure, Tutoring, Writing process

By Jacqueline Allan and Madeline Walker

Jacqueline Allan, a masters’ student in kinesiology with a background in recreation, started visiting the Centre for Academic Communication early in her program. When Jacquie , who is studying adult play, shared her novel approach to the literature review with us recently, I just had to see if she was willing to let the community experience it as well.  Click onto the sound file to hear Jacquie’s journey up the mountain.

Earlier in the semester, Jacquie and I had a conversation about her life and her work.

Madeline: “Thank you for providing your literature review recording for us to enjoy. Can you tell me a little about why you wanted to study adult play for your master’s thesis?”

Jacquie : “I teach a lot of fitness classes, and I noticed that when I present something that’s playful, there are people who really resist that. They think, ‘I’m here to get a good hard workout, let’s just stay with what we know about exercising. Let’s not do anything playful.’ In fact, I’ve had people leave the class. So, I’m interested in what happens when we want to become playful. Or, why don’t we become playful?”

Madeline: “I love your question, ‘why are people resistant to play?’ I can relate as I used to be one of those people. Part of it was self-consciousness. What would people think? We’re not children anymore, I can’t look foolish. That was part of my resistance.”

Jacquie: “I think that’s a lot of it. People say I was a kid then, and I’ve left all that behind. Why is that? What are the forces acting on us as adults that don’t allow that? Is it still the work ethic thing, that if I am not working, I’m not seen as being productive? So it doesn’t have value? I am interested in that.”

Madeline: “When I first heard your lit review, you were on a hike, and there was birdsong in the background—you were embodying this spirit of play in your work, which I think is so wonderful.  I wanted to know what was the spark to give you this idea?  Was it, ‘I want to do a lit review and I want to record it, to make it a story?’”

Jacqueline made a wry face. “You just said I wanted to do a lit review; I HAD to do a lit review!” We both laughed about that.

Jacquie then described a childhood memory that informed her literature review journey: “I thought back to when I was a kid. I grew up on the North Shore of Vancouver, and we lived at the bottom of Grouse Mountain, and that was one of the things I did with my cousins, who lived in the same neighbourhood. We used to go down to the creek at the bottom of the mountain, and we would start going up the mountain, looking for Santa Claus. That was the culture we grew up in. It occurred to me that we didn’t really know where we were going. We knew that we were having fun, and this lit review is a journey for me into the unknown, into the wilderness.”

Madeline: “So that’s where you got the model for the journey up the mountain? “

Jacquie: “Yes. So I took all the people I was looking at in my research, and I could envisage them being at certain places along the way. One person that comes to mind is Brian Sutton-Smith [play theorist from New Zealand, 1924-2015]. I read his material for the literature review, and at one point I thought—wait a minute—I’ve met this person before! There was a prof who came to UBC and gave us a lecture for a convention or something, and I walked back with him and we were laughing and he looked like a surfer, and he had an accent. He reminded me of somebody who embodied playfulness! I could see him in the forest. He was with all the elves, just running around in this grove. So he takes a big part in this because he, for me, having met him, was playful even in his work. . . . And toward the end of the lit review, I came to the realization that I didn’t know anything!

I responded, “That means you’re very wise, Jacquie, when you know you don’t know anything!”

We chuckled about that nugget of truth voiced by Albert Einstein: “the more I learn, the more I realize how much I don’t know.”

Jacquie: “Brian Sutton-Smith said that play is ambiguous–even Aristotle and Plato said that. We don’t really know what it is. Play is a noun and a verb in our culture. In particular, what is play for adults? As adults, we tend to know when we are not at play. To me, that means we know what play is. If you know the shadow of it, then you know what it is. But at the same time realizing this is so huge and I thought I would get to this literature review, and this would be the basis of a thesis I wanted to do, and I would think, ‘great, I’ve done it.’ Oh my gosh, no, not even close!”

The Wisdom of Ravens

Reflecting on her feeling of not knowing, Jacquie starts to describe her experience with ravens.

“I have met ravens on Grouse Mountain. One day, I was up there at the chalet where you can sit and look over the city. A raven came down and sat right there looking at me. This was the raven I had in my head. Speaking of wise–they’re so very wise.  The raven looked at me:

‘You think you know what’s going on but you don’t have a clue! And furthermore this path is way longer and way more ancient than you ever thought.’

I know now that ravens in First Nations culture symbolize an awful lot, but one of the things is knowledge. I thought, well that’s interesting. The raven is holding all this knowledge, and it’s up to me to try to find out, but the raven had no intention of telling me any of the knowledge except to say, it will be revealed to you.  First, you need to put in the work. So I’m at the bottom of the Grouse Grind, not at the top, and I need to keep going. That was the message from the raven.”

Jacquie thought for a bit then added, “Ravens also symbolize the subtlety of the truth. Am I looking for the truth of play?  Will ever approach the truth? Or get close?”

Wondering with Jacquie, I offered the following thought: “Maybe there are multiple truths.”

Jacquie: “Good point. Ravens also symbolize the unknown. In fact, I wrestle with and have to get comfortable with and accept that I’ll never know the truth about play.”

I remembered what a favourite writer of mine said about the literature review. “Pat Thomson says that the literature review is about getting comfortable with ambiguity, with not knowing. You’ll never know it all. I love your attitude, of seeing it as a journey of revelation. Even if you only get a little bit of it, there’s still a sense of appreciation. Sometimes we get arrogant as academics, thinking we can capture all this information, but in fact it’s always changing and dynamic, and it’s impossible to know it all.”

Jacquie admitted that this was a surprise to her.

“Jacquie,” I said, “I know you are an accomplished jazz vocalist. Is that what you do for play?”

Jacquie: “It is playful, but within a massive structure. So knowing the structure is super important, and improvisation is all part of jazz. So that becomes the playful part but within this really tremendous structure. So for me personally, playfulness is an attitude. I have a strong feeling that all of creation is playful, and the fact that we as humans don’t get that is kind of our problem. And so I look for that, every single day, and I look for the people–you  recognize somebody who has a playful spirit. Most day to day situations can be turned into playful situations. But that makes going through it fun; why not have fun? We’re all in it together. To do what we do individually to the best of our abilities. Let’s just have fun together. It’s very social for me as well. I can be playful by myself, you know I like physical recreation, but being playful with other people is where it’s at.”

Madeline: “So playfulness is an attitude for you?”

Jacquie clarified: “It’s actually a behaviour trait. Most of the researchers would distinguish play as one thing, but playfulness is something different. One researcher, Gordon, says her feeling is that playfulness can be learned or re-learned as an adult, and that fascinates me. What are the conditions under which a person learns for the first time or relearns how to be playful in their life?”

Jacquie and I agreed this seemed hopeful—that adults can re-learn their playfulness.

Jacquie’s top three tips for writing a literature review

I asked Jacquie to share her top three tips for a student who says, “I have to do a lit review and I’m terrified! What should I do?”

Jacquie responded without missing a beat: “Seek help at the Centre for Academic Communication. Those people know what a literature review is, and they can give you information on how to approach it right from the very beginning. They can give you tons of resources. That was so important to me. It was vital to me, not having done one before.”

Madeline: “Thanks for the plug, Jacquie!”

Jacquie : “Second, be looking at a topic you absolutely love because it can be onerous, and reading research is a bit of a process, so just stay with your loved topic. The third one is to have fun with it because it is a journey. In Travels with Charley, John Steinbeck says ‘you don’t take a journey, the journey takes you.’ So recognize that right off the top.”

Jacquie  started to gather her things to go. Time had slipped by quickly because we had been playing. “Thank you for the opportunity and the assistance you’ve given me.”

Thank you, Jacquie , for sharing your journey through this interview and your recorded literature review. Many readers will feel inspired to welcome playfulness into their lives after they read this. I know you inspired me!

 

 

Photo of Jacquie by Malakai Design Photography

Photo of Raven: https://commons.wikimedia.org/wiki/File:Female_adult_raven.jpg

By Bombtime [GFDL (http://www.gnu.org/copyleft/fdl.html) or CC BY-SA 3.0  (https://creativecommons.org/licenses/by-sa/3.0)], from Wikimedia Commons